All episodes
How I Compose with One Triad No Chord Progression Needed
Live Composing - A Piano Sketch Built on the Minor Second
What the Harmonic Series Teaches Composers About Counterpoint
One Tiny Formula Keeps This Piano Piece Going - Composition Analysis
An Orchestra Goes for a Bike Ride
Composing Beyond the Diatonic System Using Intervals
One Interval a Whole Orchestra - Light in the Sky
From One Interval To The Full Score
Mark DuBerry - Pulling Silk Podcast - Interval Composer Spotlight
10 Orchestration Lessons - Live Masterclass (Part 2)
Four Plain Triads - Then We Put a Chord Between Them
8 Orchestration Lessons from One Real Score (Live Masterclass)
An Orchestral Piece Built Only from Triads
The Hour After the Sketch
Move One Structure, Shape Your Piece
Do This for More Colorful Orchestration
Dont Pick the Scale First
Be Simple in One Place
How a Blocky Chord Sketch Becomes a Full Orchestral Cue
Great Introductions and Endings (using INTERVALS)
Replace Generic Chords with this interval trick
Line Writing Workshop
The Top 3 Traps Most Composers Fall Into
Why Composers Write in Flat Keys
Composing with 3s and 9s
Interval Composition Based on Bernard Herrmann
The 4 Ways to Write Music - Most Composers Only Know 2
Composing with Just One Polychord
The Best Composers Use Only 3 Composition Techniques, Not 30
3 Different Starting Points for Better Compositions
The "1+1" Interval Game
Why Composers Freeze at Bar 5
The Secret Is Prediction, Not Talent
Fix the Score, Not the Knobs
Diatonic vs. Intervallic - Which One is Better
5 Spells Every Composer Needs
The Note Your Scale Won't Allow
The 48-Hour Composition Challenge
Color Doesn't Belong to a Genre
When Lines Do What Chords Cannot
Think In Energy, Not Chords
Fix The Context, Not The Chord
Momentum Over Perfection
When Simple Is Strong
The Power of A Story
Stop Composing Alone
Why Basics Unlock Magic
Find Your Musical Edge (With Interval Theory)
Balancing Complexity and Simplicity
Making Notes and Clusters Belong
Musicians Love Patterns
The Art of Singable Lines
Hearing Intervals Differently
Bridging from Diatonic Writing to the Intervals
Protecting the Actor's Moment
The Pedal Tone Reset
Groove Without More Notes
Start With Energy, And The Notes Will Follow
When Birds Become Bassoons
Pattern Education And Sounding Generic
The Secret to Motion Without Changing Harmony
Seamless Storytelling In Your Music
Why You Feel Slow When You Compose (And How to Fix It)
From Scale Prison to Interval Freedom
The Secret Life of Interval Resolution
Recovering Like a Pro
Escape Overthinking with Musical Finger Painting
Good Orchestration is Strong Storytelling
Think in Lines, Not Stacks
Why Your Harmony Sounds Wrong (Even When It Looks Right)
Composition Techniques Don't Expire
How I Composed My Best Boss Music Tracks
Orchestration Is Your Best EQ
Dissonance Is A Choice
Stop Fixing the Minor Second and Start Controlling It Instead
It's Not About the Tricks, It's About the Time You Save
From 12 Intervals to Just 6 Personalities
Why Hollywood Scores Are Written in no Key
From Lines to the Orchestration with Counterpoint
The Lie of Perfect Spelling
Why Music Theory Shouldn't Feel Like Detention
Why I Use My Keyboard Like a Ruler
How to Train Your Ear Without a Piano
Unlocking Chord Function with the Harmonic Series
From Triad to Magic with Scaling
It's Not a Bug, It's Your Voice
Become Your Own Composition Coach (With This One Simple Habit)
When Feedback Feels Like Magic
The Spicy Magic of the 13-Interval
Unfinished but Unstoppable
You Don't Find Your Voice But You Write Your Way Into It
Loud Is Not Enough to Make Your Orchestration Climax Pop
Why Titles Matter More Than You Think
Dark Underscore and Silence
The One Thing I Do Before Composing a Film Cue
Stop Overwriting - Clarity Is the Real Magic
Stop Starting with the Intro
Scaling of Triads - Live Session
The Magical Engine Inside Your Music
Sketch First, Orchestration Second